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· 3:#341 with Daryl Gussin
· 4:Windian Records Interview
· 5:#342 with Todd Taylor


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Record Reviews

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Below are some recently posted reviews.

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FUSES, THE:
Mit Einer Hohen Geschwindigkeisrate: EP
Jangly and danceable post punk akin to what Fast Product and Rough Trade were putting out. Maybe cross early Mekons with later Buzzcocks? The tempos are hyper, the guitar is discordant with ethereal qualities, and everything sounds jammed together and scrambling for space, yet it’s clear and spacious. –Matt Average (Morphious)


FREE VERSE:
Mierda/Aerosol: CDEP
“Mierda,” for some reason, reminded me of Vice Squad’s “Freedom Begins at Home.” The second track was a noisy punk tune, with lotsa time signature changes. Not the best thing I’ve heard all week, but I ain’t exactly complaining, either. –Jimmy Alvarado (Free Style, no address)


FREE VERSE:
Mierda / Aeresol: CDEP
Two songs to get a feeling for this three-piece, all-girl band from Seattle. Don’t be scared; these girls have chops. Remember, before goth, there was death rock. That is what these ears hear mixed with some metal overtones to put the umph into their attack. It’s also a little loose and raunchy, which make this listener appreciate this more. I’m enthusiastic to hear what else comes from these women. –Donofthedead (Free Style)


FLESHIES:
The Game of Futbol: CDEP
Like the Butthole Surfers in their prime, you want Fleshies to fuck with you. It’s fun to hear them molest your eardrums, and this EP kind of feels like kneeling down before a priest who kicks you square in the forehead with soccer cleats. Then you realize why he’s wearing those shoes. So he doesn’t trip in your blood while he dances around, making fun of you. This EP should come with the instructions: “Steal a can of Scotch Guard. Spray into plastic bag. Huff until the bag’s stuck around skull in tight seal. Shit yourself. Go blind.” My favorite songs are the first and third. “Fists of Mercy” and “The Tickler” show you that they’ve got the chops to write perfect punk songs. The other four scream that they don’t give a fuck about my or your expectations. These songs destroy in different ways, from the loungey, ether-happy, four-minute, twelve-second long title song to the “Sexiest Man Alive,” sung in a metal, nut-squishing falsetto that begins with bleating sheep. Gotta appreciate bands with gonads this big who’re crazy enough to pull it off like it’s the most natural thing in the world. Recommended, in tandem with their debut CD, Kill the Dreamer’s Dream. –Todd Taylor (Adeline)


FEEDERZ, THE:
Teachers in Space: CD
With a picture of the space shuttle Challenger blowing up, the title doesn’t sound as nicey nice. While not as tickling my punk fancy as their first record, there are more harmonies, less thud, and opens with a Crass-y spoken word over tortured instruments song that isn’t as essential. In other words, a bit more arty, but upon repeated listens, it’s growing on me. It makes me realize how truly funny, diverse, and inventive The Feederz could be away from hardcore. The song titled “Intermission (Time for a Snack)” is just that. Mellow vibes and a ticking clock for a minute and five seconds. Half of “Taking the Night” sounds like a musical. A really good musical that I’d like. About rioting. So, if you see both this and Ever Feel…, get the other, but if you have a choice between this and, say, an emo record, this’ll do your head good. As an added bonus, this also has a long live show video on it (which can’t be played on record players). –Todd Taylor (Broken)


FEEDERZ, THE:
Ever Feel Like Killing Your Boss: CD
Anger can be an amazing source for inspiration. This is classic, long hard-to-find, caustic, dark shit that would do you well to pick up. Spearheaded by the acid-spitting Frank Discussion, The Feederz never took any sides – left or right, right or wrong – except their own. Yet they were super-intelligent and graphically smart about pulling off this musical coup. You’d think that something so nihilistic would immediately implode on itself. Luckily, they recorded a couple albums before that happened (although they’re playing out again). The songs themselves are fantastic and it’s almost impossible to trace how many bands have shamelessly borrowed from The Feederz without giving credit where credit’s due – from the outright intelligent antagonism (rarely duplicated), the guitar strangulation, the absolutely amazing drumming that sets a definite mood and pace, the ability to play a slower song that’s completely frenetic and dizzy, how to make truly moving protest-against-everything music, and the flow of the entire album itself. The Feederz were many things, but they had several recurring themes: anti-capitalism, anti-advertising, anti-submission, and anti-religion. Indispensable jewels are songs like “1984,” which rails against working so someone else can make a buck off of you. (“You go to school for twelve years where you learn just one thing/ How not to mind being bossed.”) In every fold of the CD jacket, Frank suggests you steal this album, to use their artwork, to tape the songs at home. Juxtaposing the CD cover subvertisement of an attractive, busty bandita is the talk bubble, “Vandalism, beautiful as a rock in a cop’s face.” Leaving no big stone unturned and walking away from no fights, they go right for the robe. In “Jesus,” re-named from the original LP’s “Entering from the Rear” – leaves little room for interpretation. (“Jesus entering from the rear/ Fucking you in the ass/ Just another faggot/ In just another mass.”) I’ve always found it more than a little weird that The Feederz didn’t get as popular as, say, Dead Kennedys. Perhaps it’s because they fought with their gloves off and they constantly attacked for exposed, hypocritical throats. Perhaps it was because this album was fucking tough to find for years. The original LP version of Ever Feel… (“Pay no more than $0.00 for this record”) had sandpaper on both sides of the jacket, designed to scuff the records next to it, as a fuck you to record collectors (which backfired, because it’s worth a lot of dough.) All said and done, this is an extremely welcome re-issue that I’ll be playing incessantly. The irony that this is quite possibly more timely than when it was first released doesn’t escape me either. –Todd Taylor (Broken)


FANTOMAS MELVINS BIG BAND:
Millennium Monsterwork: CD
State-specific tuneage that is the musical equivalent of a non sequitur. I wouldn’t try listening to this without drugs. If you have neighbors who suspect you do dirty, nasty, dangerous things in your abode late at night, you might want to pass on this. If you have a boyfriend or girlfriend you want out of your of life and is slow on the uptake, put this in and select “repeat.” –jim (Ipecac)


EPOXIES:
self-titled: CD
The New New Wave is here you smacked asses and the Epoxies are at the front of the pack. How is it Seattle, Dirtnap in particular, keeps pressing records that fill huge voids we didn’t even know existed until we find ourselves spinning the disc for the dozenth time in a row? Somewhere between X-Ray Spex and Pat Benatar, the Epoxies have made a record with one foot in 1981 and another in this not-so-new millennium. The songs get up and go with snappy drums and bass lines, rocking guitars and a healthy infusion of spirited keyboards. (Their website even features a photo of a rare species of guitar known the keytar…) But what stands out is the songwriting. Singer Roxy Epoxy holds nothing back, no territory is deemed too private, no fear too painful to be explored. It’s courageous without crossing over into mawkishness or melodrama. Part of the appeal is nostalgic. The Epoxies have a weird cold war vibe that seems right at home in these paranoid times. Songs like “We’re So Small” and “Losing Control” feel like cold war anthems of the heart. This is a record about the next cataclysm – be it personal or global, public or private – that we can do nothing to stop. Post 9/11 love songs for your timid, tortured hearts. –jim (Dirtnap)


EPOXIES:
self-titled: CD
As I was on my way out his door, this CD was handed over by our own Retodd who smiled and said, “Just listen… it’s good.” Now, Todd and myself usually have one thing in common when talkin’ bands – if it’s good, really damn good, we’ll go out of our way to share and/or suggest bands to the point of irritating people (Me being the more irritating one, trust me). This CD from the Epoxies is what was missing in the record bins in the ‘80s. This is the new wave that should have been buzzing out of your parent’s speakers during those house parties you threw while they were out of town. Really great songs played by a very competent lineup along with a synth player who is spot fucking on, unlike some of the throwaway Flock Of Hairdo bands that came and went some twenty years ago. I hear hints of The Rezillos (“Stop Looking at Me”), X (“We’re So Small,” “Bathroom Stall”), and let me tell ya, it’s all done quite well. I think Roxy Epoxy could very well sit in for Chrissie Hynde if Chrissie ever needed a stand-in for one of her Pretenders gigs. I have the feeling the next time the Epoxies are in LA, I’m going to be flailing spastically ala Jim Decker of The Crowd (who would be a good band to bill the Epoxies with). And you silly gooses thought that Seattle only shits out Starbucks all over the country. Well, guess again, fucko – here come the Epoxies. –Designated Dale (Dirtnap)


ENDS, THE:
Jump Ship: 7”
Snot pop with sonic punk grease as the pie filling. Think Buzzcocks. Think Saints without the horns. Think of enjoying the fact that a twelve pack of Pabst is around five bucks. Think the Jam way before Style Council. Think of days when actual singing – instead of mumbling and outright screeching – wasn’t seen as a sign of weakness and guitars didn’t have to be perfect, yet sounded right, like they could shave all the hair off your body in a single swoop and give you a few goosebumps. Think that the best hooks are the ones you haven’t heard before. Think balding drummer. Think that that makes me like them even more. Pretty cool debut. Look forward to more. –Todd Taylor (Mortville)


EDDIE HASKELLS, THE / FRACAS:
split: 7”
The Eddie Haskells call to mind some Dead Boys/early-vein Humpers presence, and let me tell you, that’s a mighty beautiful thang, especially the cut, “Dumpster Divin’.” Judging from just their side of the split here, I’d really like to hear some more of the Eddie Haskells’ material. On the flip, Fracas bump out a Samhain-ish “So Sayeth” and cover Antiseen’s “Fuck All Y’All”…zzzzzz… Shit, this coulda been an Eddie Haskells EP. Oh, well, can’t have it all. –Designated Dale (www.geocities.com/eddiehaskells2001/www.fracaspunks.com)


EDDIE AND THE HOT RODS:
Thriller: CD
A re-ish of the third and final release by the band most often cited as being the link between Britain’s punk and pub rock scenes. Although most of the songs here never reach the manic levels of their earlier work, there are a few moments of that old brilliance, most notably “Living Dangerously.” On the whole, the music ain’t too shabby for what it is, although my personal preferences most definitely lie with their glory days. –Jimmy Alvarado (Captain Oi)


EAST BAY CHASERS, THE:
Johnny Is a Junky: CDEP
I can’t seem to pin the tail on the donkey on this. It has the rawness of a great garage punk band. It has similarity to Smogtown but hasn’t achieved that greatness. It’s got the dirtiness of a drunk punk band and elements of a SoCal surf band that makes you either want to go skate or surf. Hard one to pin but definitely stands on its own. What I can say is this worthy of more than one listen. Gotta see them live to see if the magic carries through. –Donofthedead (Cheetah)


DUKES OF HAMBURG:
Some Folks: CD
Some pretty straightforward sixties covers courtesy of former Mummies drummer Russell Quan and some of his pals. The song selection is great, they are very well done, and the band’s sound is authentic. What more could one ask for? Recommended. –Jimmy Alvarado (Gearhead)


DILLINGER FOUR:
Situationist Comedy: CD
Wholly fuck! Fat has released a big can of whoop ass that is going to blow up the world. The mighty D4 has returned to create a rock opera of brimstone and fire that is beautiful to watch at the same time. Cutting and tasty (Hey, that’s the Razorcake motto!) is what spews forth out for your audio pleasure. Every bit as good and to me even better than their classic Midwestern Songs... From start to finish, an accomplishment of aural perfection. Songs that take you up and down to the point of exhaustion. I am proclaiming this one of the best records of the year. If you don’t know this band by now, go buy, borrow, tape, or steal one of their releases. If you don’t like them after that, you suck. –Donofthedead (Fat)


DILLINGER FOUR:
Situationist Comedy: CD
Holy shit! I cannot possibly write a review that would do justice to this album. The Dillinger Four have been my favorite band for such a long time. The soundtrack and inspiration to so many crazy middle of the night bike rides, drunken porch sitting, zine writing, protesting, kissing, feeling depressed, feeling ecstatic… Whereas I havta sit in my room and listen to the Replacements or the Clash and dream of an era I know so little about, I have seen D4 dozens of times, singing along until I’m hoarse. If you don’t run out and buy this album (possibly their best yet), you’re gonna be kicking yourself like a teenager in 1976 NYC who never got around to checkin’ out the Ramones. What can I say? If you can’t feel passionately about the music you listen to, you’re either a detached hipster asshole or need to listen to something else. I fucking love the Dillinger Four! If this were a cereal, it’d be Lucky Charms! –Maddy (Fat Wreck Chords)


DIESTO:
self-titled: 7”
Think late-eighties AmRep noise rock and you’re in the right ballpark. Pretty good. –Jimmy Alvarado (Elastic)


DERITA SISTERS, THE:
Whore Stories: CD
Fans of Dead Lazlo’s Place or the Badtown Boys might be interested in this one. Gizz, a member of the latter bands, is in this one. This ensemble is more loose than the previous mentioned bands. Old school, in the vein of the early eighties. Silly lyrics over sloppy three chords of punk fun. Twenty songs to fill up some time when you need some messy pleasure. –Donofthedead (Big Lizard)


DEFNICS:
Look at Me Mom I’m Not Dead: 7”
An old Killed By Death band gets back together to make some more racket. The title track is a decent slab of punk rock noise in that KBD style that refuses to die. The B-side, a live version of their “51 Percent,” is pretty damn snappy and not embarrassing in the slightest, which is a relief. –Jimmy Alvarado (Smog Veil)


DEFEATED, THE:
Asbury Cocksucker: 7”
Oh, man. This record is unreal. It’s one of those rare recordings that stays with you days after you’ve listened to it, like an unfinished letter, a mirage swimming in the distance, the answer to a trivia question just below the surface of your consciousness, until you find yourself back at the record player, dipping the needle into the grooves, filling the house with sound. I can honestly say this: it’s like nothing I’ve ever heard before. Oh, man. –jim (S&M)


DEATH THREAT:
For God & Government: CD
Not to be confused with the other Deathreat. This Death Threat is polished NYHC (although they hail from Connecticut). I’m not really a fan of this style. But I imagine those who like this genre will dig it. Breakdowns, rhythmic bridges, anthem back up vocals, chunky rhythms, and chugga-chugga guitar. –Matt Average (Triple Crown)


DEAD SERIOUS / DIEHARD YOUTH :
split: CD
Dead Serious: East Coast sounding punk rock that is currently labeled hardcore but more in the ‘88 vein. Heavy on the metal and attitude. I like the snottiness of the singer who doesn’t try to sound guttural. Diehard Youth: Lyrics that are on the posi-core tip. Similar to Dead Serious in sound except the guitar is definitely thin. So that makes them sound more straightforward. Worth it alone on hearing two bands I haven’t heard of before. –Donofthedead (Thorp)


DAN MELCHIOR’S BROKE REVUE :
Heavy Dirt: CD
Two guys from England and two from Florida live in New York and make joyful, sloppy garage blues with hints of thee Headcoats and the Country Teasers. Dan’s voice and accent drool charm and there’s no shortage of harmonica or slide guitar. I find myself repeatedly compelled to double-play the anthemic “Fashion,” with its Zeppelinia and deadpan girl backups, but you’ll undoubtedly find a favorite of your own. Unless you’re stupid. You’re not stupid, are you? –Cuss Baxter (In The Red)


D4, THE :
Rock’n’roll Motherfucker b/w Running on Empty: 7”
Please don’t confuse this band with Dillinger Four. This is a New Zealand punk’n’roll band. Although not awful, they’re shamefully standard bar rock that speed dials rock’n’roll cliché after cliché. Say, for the sake of argument, that you had a dog that represented all of rock. This band would be like a single, short, shed hair left behind in the dog bowl. And it’s not a particularly interesting hair at that. Turbonegro would poop on them. –Todd Taylor (SDZ)


CZOLGOSZ:
self-titled: 7”
Here are five solid-but-sloppy, political punk songs that all sound like they’d fit perfectly in the old MRR hardcore comp, Not So Quite on the Western Front. And you can’t beat a band named after a guy who shot the president of the United States. All hail Czolgosz! –Sean Carswell (Rodent Popsicle)


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·MENZINGERS, THE


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